Podcasts about Berthe Morisot

B.A. Shapiro's The Lost Masterpiece can be preordered on Amazon HERE.Berthe Morisot was a female Impressionist painter active in Paris during the second half of the 19th century. She exhibited her work alongside famed Impressionist artists Monet, Degas, and Renoir, among others, and was the only woman to be included in the first major show of Impressionist art in 1874. Despite the many limitations she faced as a female artist of her time, Morisot established herself as an integral member of the Impressionist group. She also modeled for a number of paintings by Manet, and though she was married to his brother, many believe that Manet and Morisot were engaged in a long-run secret affair.B.A. Shapiro is a New York Times best selling author. In 2013, she was awarded the New England Book Award for Fiction for her novel, The Art Forger. Over her impressive career as an author, she has written both novels and screenplays, as well as a non-fiction self help book. Be sure to follow ArtMuse on Instagram & TikTok. Donate to ArtMuse HERE.ArtMuse is produced by Kula Production Company.Today's episode was written by host Grace Anna.There are accompanying images, resources and suggestions for further reading on the ArtMuse website and Instagram.

I denne episoden ser vi nærmere på bildet "Vuggen" av den franske impresjonisten Berthe Morisot. Hvem forestiller bildet? Og hvorfor mener jeg bildet angår alle? Har du spørsmål eller ønsker til temaer jeg skal ta opp i podcasten, skriv til info@kristinetghardeberg.no.   Vil du lære mer om kunsthistorie med meg, gå hit: kunsthistorier.no   Mine bøker finnes i bokhandler over hele landet og på nett.   Her kan du kjøpe signert utgave av boken Kunsthistorie for alle: https://art.kristinetghardeberg.no/kunsthistoriebok

Napoli e Venezia, due città diverse, piene di arte e di storia ma con un legame diverso con il mare che le bagna. Egidio Ivetic e Luigi Mascilli Migliorini, autori del libro, "Il destino del mare" (Il Mulino) le raccontano guardandole da lontano.Nella seconda parte le recensioni ai seguenti libri:Eugenio Montale, "Ossi di seppia", Mondadori per il centenario dalla sua pubblicazione;Eugenio Montale, "Tutte le poesie", Mondadori;Guidalberto Bormolini, Davide Rondoni, "Vivere il Cantico delle creature";La spiritualità cosmica e cristiana di san Francesco, edizioni Messaggero Padova;Simona Rinaldi, "Le mostre d’arte, Dal Seicento alle esposizioni digitali", Carocci;Oskar Bätschmann, "Il pubblico dell'arte, Una breve storia", Johan & Levi editore.Il Confettino, il consiglio di lettura per i piccoli di questa settimana:Maria Cristina Bulgheri, Berthe Morisot, Paesi edizioni.

La Venganza Será Terrible: todo el año festejando los 40 años Estudios AM 750 Alejandro Dolina, Gillespi Introducción • Entrada0:01:27 Segmento Inicial • ¿Cómo conquistar a una mujer extranjera?0:05:26 • Oyentes Segmento Dispositivo • Berthe Morisot: pintora impresionista0:52:40 • "Si Yo Nací de Su Pincel" ♫ (Cantan Karina Beorlegui/Alejandro Ricardo Dolina; Federico Mizrahi, Pablo Agri, Dimitri Rodnoi) Tangos del Bar del Infierno, 2003 Segmento Humorístico • Trabajos extraños Sordo Gancé / Manuel Moreira • Presentación • "El motivo (Pobre paica)" ♫ (Pascual Contursi/Juan Carlos Cobián) • "Las hojas Muertas (Les Feuilles Mortes)" ♫ (Jacques Prévert/Joseph Kosma) Dolina canta los primeros versos en francés, luego entra Gillespi. • "El Último Café" ♫ (Héctor Stamponi) Interpretada con piano y trompeta por D & G. • "Te Lo Juro Yo" ♫ (Rafael de León/Manuel Quiroga)

26 novembre 2024 - Daria Galateria e Fabiana Giacomotti - Collaterale alla mostra "Impression Morisot"

5/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 SIEGE OF PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

6/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 SIEGE OF PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

7/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1871 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

8/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS  https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

4/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionis

"PREVIEW: Author Sebastian Smee of 'Paris in Ruins' explores the pivotal but often overlooked role of Berthe Morisot in the Impressionist movement. More tonight."

3/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

2/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

1/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

"PREVIEW: PARIS: Art critic Sebastian Smee, author of 'Paris in Ruins,' explores the birth of Impressionism during the Franco-Prussian War and the complex relationship between Édouard Manet and Berthe Morisot. More tonight." 1871 Commune

"PREVIEW: Conversation with art critic Sebastian Smee, author of 'Paris in Ruins,' about Berthe Morisot, the first female Impressionist and muse to the movement's founding artists, including Édouard Manet. More later this week." 1870s, Barthe Morisot by Edqard Manet.

19 novembre 2024 - Giuseppe Scaraffia - Collaterale alla mostra "Impression Morisot"

For the 34th episode of "Reading the Art World," host Megan Fox Kelly speaks with Sebastian Smee, Pulitzer Prize-winning art critic for The Washington Post and author of "Paris in Ruins: Love, War, and the Birth of Impressionism,” published by W. W. Norton.This fascinating conversation explores the violent political upheavals of 1870-71 Paris — the Siege of Paris and the Paris Commune — and how they influenced the Impressionist movement. Smee shares insights into the lives of the artists who survived these dramatic days, including Edgar Degas, Édouard Manet and Berthe Morisot, who were trapped in Paris; Pierre-Auguste Renoir and Frédéric Bazille, who joined regiments outside of the capital; and Claude Monet and Camille Pissarro, who fled the country just in time.Through rigorous research into personal letters and historical documents, Smee illuminates the human context behind familiar masterpieces of light created during this dark period. He offers a fresh perspective on why the Impressionists, with their newfound sense of the fragility of life, turned toward transient subjects of modern life, leisure, fleeting moments and the impermanence of all things in the aftermath of such devastating events.ABOUT THE AUTHOR Sebastian Smee is an art critic for The Washington Post and winner of the 2011 Pulitzer Prize for Criticism. His previous works include "The Art of Rivalry" and books on Mark Bradford and Lucian Freud. He was awarded the Rabkin Prize for art journalism in 2018 and was a MacDowell Fellow in 2021.PURCHASE THE BOOK https://wwnorton.com/books/9781324006954SUBSCRIBE, FOLLOW AND HEAR INTERVIEWS:For more information, visit meganfoxkelly.com, hear our past interviews, and subscribe at the bottom of our Of Interest page for new posts.Follow us on Instagram: @meganfoxkelly"Reading the Art World" is a live interview and podcast series with leading art world authors hosted by art advisor Megan Fox Kelly. The conversations explore timely subjects in the world of art, design, architecture, artists and the art market, and are an opportunity to engage further with the minds behind these insightful new publications. Megan Fox Kelly is an art advisor and past President of the Association of Professional Art Advisors who works with collectors, estates and foundations.Music composed by Bob Golden

Giovanni Verazzo ha intervistato, durante la terza giornata di Più Libri Più Liberi, Maria Cristina Bulgheri che ci ha parlato di "Berthe Morisot, pittrice a tutti i costi", Paesi Edizioni.

Welcome to the FINALE of Season 12! I am so excited to say that my guest on the GWA Podcast is the acclaimed writer, Sheila Heti. Born in 1976 in Toronto, where she lives today, Heti is the author of eleven books, from novels to novellas, short stories and children's books. Most recently, her acclaimed books have included Alphabetical Diaries, that ordered a decade worth of diaries in alphabetical order; Pure Colour (2022), a novel that explores grief, art and time; Motherhood (2018), a meditation on whether or not to become a mother in a society that judges you whatever the outcome. Heti's writing is some of the most honest, thoughtful I've ever read, and throughout weaves in the broad subject of art, whether it be paintings or her protagonists' professions… Heti also wrote for the literary journal the Believer, and has conducted many long-form print interviews with writers and artists, including conversations with Joan Didion, Elena Ferrante, Agnes Varda, Sophie Calle, who are among some of the artists we are going to be, very excitingly, discussing today. -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

- VIVI PRESENTI PUGNANTI: alla Casa della Memoria un'installazione creativa racconta l'Aventino e l'antifascismo dopo Matteotti - SANTI E BRIGANTI: immagini e pensieri da una coscienza ispirata dall'amore. La mostra di Matteo Guarnaccia - La G A M, Galleria d'Arte Moderna di Torino rinnovata ospita la bella mostra di BERTHE MORISOT, importante pittrice tra i fondatori del movimento Impressionista - Vi ricordo poi ENRICO BAJ a Palazzo Reale di Milano in sala delle Cariatidi. Cuore della retrospettiva l'opera che finalmente verrà donata alla città: I FUNERALI DELL'ANARCHICO PINELLI che troveranno casa poi al MUSEO del NOVECENTO. Radio Popolare è orgogliosamente media partner con ELECTA dell'evento.

Oggi a Cult: Michele Di Stefano torna a Triennale Teatro con la compagna mk con "Panoramic Banana; alla GAM di Torino molte novità e un focus su Berthe Morisot; Raffaele Mangano (con Gianni Bono) firma il libro "Non sono stato io" (IF editore) sul mistero che circonda il primo disegnatore di Diabolik; Isabella Lagattolla introduce il Festival delle Colline Torinesi 2024...

We're shining a spotlight on one of the most significant yet overlooked figures in art history, Berthe Morisot, and we'll find out how she became a founding member of the Impressionist movement. Featuring art historian Dr Sinéad Furlong-Clancy of the National Gallery of Ireland and the Hugh Lane Gallery; Dr Timothy Stott of Trinity College Dublin; Janet McLean, curator at the National Gallery of Ireland; and Dr Sabine Kriebel from University College Cork.

Nous sommes le 15 avril 1874, au 35 boulevard des Capucines à Paris, dans les studios du célèbre Nadar, photographe et écrivain. C'est là que se tient, durant un mois, ce qui deviendra l'une des plus fameuses expositions de l'histoire de l'art, celle qui donnera son nom à un mouvement révolutionnaire : l'Impressionnisme. Pissaro, Sisley, Degas, Renoir, Cézanne, Monet figurent parmi les trente artistes exposées. Ah, j'oubliais une femme, elle s'appelle Berthe Morisot. Elle y présente une œuvre réalisée deux auparavant, intitulée « Le berceau ». Une scène de maternité qui deviendra un thème très présent dans son travail à venir. Pour l'heure, le tableau est à peine remarqué … enfin … une poignée de critiques, tout de même, admettent quelques qualités comme la grâce et l'élégance. Après avoir cherché en vain à le vendre, Berthe Morisot ne l'exposera plus et « Le berceau » restera dans la famille jusqu'à son acquisition par le musée du Louvre en 1930. Aujourd'hui, il est le tableau le plus célèbre de l'artiste et une image de la maternité partagée aux quatre coins du globe. Mais comment la représentation de la maternité a-t-elle évoluée, depuis l'Antiquité, dans son expression artistique ? Sujets traités : Maternité, art, Nadar, photographe, écrivain, Impressionnisme, Pissaro, Sisley, Degas, Renoir, Cézanne, Monet , Berthe Morisot., berceau, tableau, Avec nous : Anne Hustache, historienne de l'art. Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

A new series has been released this morning (3 July) on Netflix. It is called Man with 1,000 Kids, and Netflix is billing it as the true story of Jonathan Meijer, a man accused of travelling the world, deceiving women into having his babies - via sperm donation - on a mass scale. Nuala talks to Jonathan Meijer, the sperm donor, to mums Natalie and Suzanne, who had a baby conceived with Jonathan's donor sperm, to Natalie Hill, the executive producer who pitched the original idea for these films to Netflix and to Rachel Cutting, director of compliance and information at the Human Fertilisation and Embryology Authority (HFEA), the UK's independent regulator of fertility treatment.A new report from AutoTrader has found that there's a stark gender divide when it comes to going green with your vehicle choice. Hyper-masculine marketing, highly technical jargon and anxieties around running out of charge are just some of the reasons they give on why women feel excluded from making the switch to electric vehicles. Nuala talks to Erin Baker, who is the editorial director at AutoTrader and author of the report. It's 150 years since the first Impressionist exhibition was held in Paris in 1874. The artists involved included Monet, Renoir, Degas, Morisot, Pissarro, Sisley and Cézanne, and just one female artist was included in that first exhibition, Berthe Morisot. But women artists were involved with Impressionism, and 150 years on, the National Gallery of Ireland is holding an exhibition to put their work front and centre. The director, Caroline Campbell, joins Nuala McGovern to talk about the exhibition, Women Impressionists, and the four female pioneers who were integral to the artistic movement.Presenter: Nuala McGovern Producer: Laura Northedge

Nous sommes le 15 avril 1874, à Paris, au 35, boulevard des Capucines. C'est là que s'ouvre une exposition qui va marquer l'histoire de l'art et bousculer notre perception du monde. Celle qui donnera son nom à un mouvement révolutionnaire : l'Impressionnisme. Pissaro, Sisley, Degas, Renoir, Cézanne, Monet, Berthe Morisot figurent parmi la trentaine d'artistes présentés. C'est une exposition qui embarrasse la presse. Jamais encore, en effet, des artistes n'ont eu l'audace d'organiser eux-mêmes un salon indépendant, de s'émanciper de l'Académie. Même si Courbet et Manet ont eu l'impudence d'exposer leurs propres œuvres dans leurs propres pavillons quelques années plus tôt, ce n'est tout de même pas la même chose. Les journaux conservateurs hésitent à faire de la réclame à une telle manifestation, mais garder le silence sur un tel événement ne serait pas professionnel. Dès le 17 avril, un premier article paraît, il est publié par « Le Rappel » et signé par Ernest d'Hervilly qui, contre toute attente, est plutôt bienveillant, il écrit : « On ne saurait trop encourager cette entreprise hardie, depuis longtemps conseillée par tous les critiques et tous les amateurs ». Mais les caricaturistes vont beaucoup s'amuser de la nouvelle façon de peindre. Émile Cardon, dans le grand quotidien populaire « La Presse », ironise : « Piquez au hasard des taches rouges ou bleues, vous aurez une impression ». Revenons, aujourd'hui, aux origines de l'Impressionnisme … Avec nous : Anne Hustache, historienne de l'art. Sujets traités : impressionnisme, art, peinture, Pissaro, Sisley, Degas, Renoir, Cézanne, Monet, Berthe Morisot, exposition, Courbet, Manet Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Just in time for your Memorial Day travels, here's an extended episode celebrating the anniversary of Impressionism! We take another look at three of the originals: Claude Monet, Camille Pissarro, and Berthe Morisot. Her painting “The Mother and Sister of the Artist” is featured in the upcoming blockbuster “Paris 1874: The Impressionist Moment” opening Sept. 8 at the National Gallery of Art in Washington DC. Find out more on their site. SHOW NOTES Opening theme: "Easy" by Ron Gelinas https://youtu.be/2QGe6skVzSs Episode Music: OFFENBACH CAN-CAN by Light Symphony Orchestra; Offenbach https://archive.org/details/78_offenbach-can-can_light-symphony-orchestra-offenbach_gbia0309744b EPISODES  Monet--Grainstack Show notes and transcript https://alonglookpodcast.com/grainstack/ Pissarro--Place du Carrousel Show notes and transcript https://alonglookpodcast.com/place-du-carrousel-by-camille-pissarro/ Morisot--Mother and Sister of the Artist Show notes and transcript https://alonglookpodcast.com/the-mother-and-sister-of-the-artist-by-berthe-morisot/ EXHIBITIONS “Paris 1874: The Impressionist Moment” National Gallery of Art (Sept 8-Jan. 19) https://www.nga.gov/exhibitions/2024/paris-1874-impressionist-moment.html “Mary Cassatt at Work” Philadelphia Museum of Art (May 18-Sept. 8) https://press.philamuseum.org/mary-cassatt-at-work/ “The Impressionist Revolution from Monet to Matisse” Dallas Museum of Art (thru Nov. 3) https://impressionistrevolution.dma.org/p/1 SUGGESTED READING “Luncheon of the Boating Party” by Susan Vreeland https://bookshop.org/p/books/luncheon-of-the-boating-party-susan-vreeland/11716075?ean=9780143113522 Transcript is available at https://alonglookpodcast.com/impressionism

durée : 00:52:30 - Grand bien vous fasse ! - par : Ali Rebeihi - Claude Monet, Sisley, Degas, Auguste Renoir, Camille Pissaro, Berthe Morisot ont contribué à changer notre regard… Coup de projecteur ce matin sur un courant pictoral majeur.

This week the Fine Artist, Michele Usibelli, whose work ranges from landscapes and animals to still life and figurative art. A Washington State native Michele was born in Seattle in 1962 then spent time in Utah and Alaska before returning to Edmonds, WA where she divides her time with another studio in Montana. Michele is the eldest of three children—she has two brothers—to John Hampson (d) a former navy serviceman and realtor, and mother Carol who was a home-maker, pianist and seamstress. Michele's childhood was spent mostly outdoors and playing sport. She was she says something of a tomboy, and she also followed in her mother's footsteps by playing the piano and sewing. Michele's interest in fine drawing led her to study architecture at the University of Washington and pursue corporate architecture. She also worked as Director of Marketing for the National Park Service, which involved extensive traveling. It was while she was on a business trip to Denali, AK that she met her husband, and after raising her three children—Nathan, Jacqueline and Angelina, that Michele returned to her love of art. Aside from painting most of the week, she also teaches workshops. Michele has won numerous awards, including the Silver Medal Award at the prestigious Salmagundi Club, NYC and the UCI Institute and Museum of California Art Award. Her work is in the permanent collection at the University of Alaska Fairbanks/Museum of the North the Brinton Museum/Wyoming, and her painting "First Light, Pioneer Mill Smokestack", was acquired by the State of Hawaii for their permanent collection. Michele lives in Edmonds, Washington State with her husband Mitch.  Michele's website: https://www.micheleusibelli.com/about Instagram: https://www.instagram.com/micheleusibelliart/  Michele's playlist: One Eskimo - Kandi, Amazing Amos Lee-Windows Are Rolled Down Lord Huron - The Night We Met Two Feet - Winter Alt J - U&ME BORNS - God Save Our Young Blood Dennis Loyd - Nevermind Absofacto - Dissolve Moby - Love of Strings BORNS - Man Two Feet - Quick Musical Doodles Sir Sly - High Michael Kiwanuka - Love & Hate  Michele's favorite female artists:Susan WoolgarKellie WeeksAbigail GuttingIngrid ChristensenWendy Conklin/UpholsteryAnnie LeibovitzMary Cassatt (d)Berthe Morisot (d)  Host: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramAART on FacebookEmail: hollowellstudios@gmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/wisp--4769409/support.

This week the Fine Artist, Michele Usibelli, whose work ranges from landscapes and animals to still life and figurative art. A Washington State native Michele was born in Seattle in 1962 then spent time in Utah and Alaska before returning to Edmonds, WA where she divides her time with another studio in Montana. Michele is the eldest of three children—she has two brothers—to John Hampson (d) a former navy serviceman and realtor, and mother Carol who was a home-maker, pianist and seamstress. Michele's childhood was spent mostly outdoors and playing sport. She was she says something of a tomboy, and she also followed in her mother's footsteps by playing the piano and sewing. Michele's interest in fine drawing led her to study architecture at the University of Washington and pursue corporate architecture. She also worked as Director of Marketing for the National Park Service, which involved extensive traveling. It was while she was on a business trip to Denali, AK that she met her husband, and after raising her three children—Nathan, Jacqueline and Angelina, that Michele returned to her love of art. Aside from painting most of the week, she also teaches workshops. Michele has won numerous awards, including the Silver Medal Award at the prestigious Salmagundi Club, NYC and the UCI Institute and Museum of California Art Award. Her work is in the permanent collection at the University of Alaska Fairbanks/Museum of the North the Brinton Museum/Wyoming, and her painting "First Light, Pioneer Mill Smokestack", was acquired by the State of Hawaii for their permanent collection. Michele lives in Edmonds, Washington State with her husband Mitch. Michele's website: https://www.micheleusibelli.com/aboutInstagram: https://www.instagram.com/micheleusibelliart/ Michele's playlist: One Eskimo - Kandi, Amazing Amos Lee-Windows Are Rolled Down Lord Huron - The Night We Met Two Feet - Winter Alt J - U&ME BORNS - God Save Our Young Blood Dennis Loyd - Nevermind Absofacto - Dissolve Moby - Love of Strings BORNS - Man Two Feet - Quick Musical Doodles Sir Sly - High Michael Kiwanuka - Love & Hate Michele's favorite female artists:Susan WoolgarKellie WeeksAbigail GuttingIngrid ChristensenWendy Conklin/UpholsteryAnnie LeibovitzMary Cassatt (d)Berthe Morisot (d) Host: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramAART on FacebookEmail: hollowellstudios@gmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/aart--5814675/support.

Callers react to the idea of people returning to meat-eating because vegetarian food is too processed. Patricia never clicked on any link but scammers managed to steal over €4,000 from her. Paul Hogan deided to recover a Berthe Morisot painting from the Tate Gallery which was supposed to be in an Irish gallery.

durée : 00:13:45 - Les Odyssées - par : Laure Grandbesançon. - Berthe Morisot est la première femme impressionniste. Un chevalet sous le bras, des souliers roses, une volonté en titane et des doigts de velours. Berthe a refusé un destin tout tracé pour vivre sa passion jusqu'au bout.

Cuando alguien te dice que debes hacer las cosas de una forma y tú no estás de acuerdo, tienes dos opciones: 1) callar y ser obediente; 2) rebelarte y no hacerlo. Hoy nuestro Artesano nos va a hablar de una artista que eligió tomar una tercera alternativa, puede que la más difícil: hacer lo que le ordenaban pero criticándolos en su cara sin que se dieran cuenta.

durée : 01:00:12 - Toute une vie - Figure de l'avant-garde dans les années 1860-1880, la peintre Berthe Morisot participe à la fondation du groupe des impressionnistes en 1873 qui conduit à la célèbre exposition de 1874. Seule femme du groupe, elle apparaît aussi comme l'une de ses personnalités les plus novatrices. - invités : Dominique Bona Membre de l'Académie française; Sylvie Patry Directrice de la conservation et des collections du musée d'Orsay; Bertrand Marchal Professeur de littérature française à l'Université Paris-Sorbonne; Marianne Mathieu Directrice scientifique du musée Marmottan; Philip Nord Professeur d'Histoire à l'Université de Princeton; Jean-Marie Rouart Romancier et essayiste, membre de l'Académie française; Yves Rouart

Nous sommes le 15 septembre 1894, à Montmartre. Le peintre Pierre-Auguste Renoir écrit à son amie Berthe Morisot: "J'ai à vous annoncer une chose complètement ridicule : l'arrivée d'un second fils qui s'appelle Jean. Mère et enfant se portent à merveille." La naissance, en effet, s'est déroulée sans problème, au 13 de la rue Girardon. Un peu après minuit, Aline Renoir a mis au monde un gros garçon que tout le monde s'accorde à reconnaitre … très laid. Le père se serait exclamé : " Quelle bouche ! C'est un four ! Ce sera un goinfre ! » Dans ses souvenirs, Jean rapportera qu'un célèbre caricaturiste de l'époque, Abel Faivre, déclara que « le bébé serait un excellent modèle pour lui ! » Jean Renoir ne sera finalement pas trop gêné par cette disgrâce : né un an avant le cinématographe, il deviendra un réalisateur majeur du 7e art. La grande illusion, La règle du jeu, Boudu sauvé des eaux, Le Crime de monsieur Lange, Le Caporal épinglé, entre autres, lui apporteront une renommée internationale. Le cinéaste est mort il y a 45 ans, le 12 février 1979, à Beverly Hills. Retrouvons-le au travers des archives de la Sonuma. Sujets traités : Pierre-Auguste Renoir, Berthe Morisot, Jean Renoir, La grande illusion, La règle du jeu, Boudu sauvé des eaux, Le Crime de monsieur Lange, Le Caporal, Jean Gabin, Jean-Pierre Cassel, Claude Brasseur Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Dans son récit, Stéphane Bern nous raconte l'histoire de Berthe Morisot, la précurceuse de l'impressionnisme.

Stéphane Bern raconte le destin exceptionnel - qui n'était pas gagné d'avance - d'une artiste peintre du 19e siècle qui s'est inspiré des artistes du siècle précédent. Ou la véritable histoire de la précurseuse de l'art impressionniste… Quelle est la singularité de l'œuvre de Berthe Morisot ? Quel rôle a-t-elle joué dans l'histoire du mouvement impressionniste ? Qui a œuvré ardemment pour la reconnaissance de son art ?Pour en parler, Stéphane Bern reçoit Marianne Mathieu, historienne de l'art et commissaire de l'exposition "Berthe Morisot et l'art du XVIIIe siècle" au Musée Marmottan Monet de Paris jusqu'au 3 mars 2024 .

Vous aimez l'Histoire et les récits de Virginie Girod ? Soutenez-nous en laissant étoiles et commentaires sur votre plateforme d'écoute préférée !

Vous aimez l'Histoire et les récits de Virginie Girod ? Soutenez-nous en laissant étoiles et commentaires sur votre plateforme d'écoute préférée !

In December 2020, Congress approved funding for a new Smithsonian Museum dedicated to women's history to be built on the National Mall in Washington, D.C. But our nation's capital has actually been home to a dedicated women's museum, the vaunted National Museum of Women in the Arts, since 1987. The institution, founded by Wilhelmina Cole Holliday and her husband Wallace, was the first of its kind in the world. Its mission was simple, to educate viewers about women's long overlooked contributions to art history. In its 36 years of existence, the museum has amassed an impressive collection of over 6, 000 works by more than 1,500 international artists including Frida Kahlo, Berthe Morisot, and Louise Bourgeois, as well as contemporary figures such as Judy Chicago, Nan Goldin, Mariah Robertson, and Amy Sherald. Less than six months after Wilhelmina's death in March 2021, the museum closed for its first major renovation, a planned $67.5 million project slated to take two years. The work has included a revamp of the performance hall, adding a new learning commons with a research library and education studios where there were once offices, as well as 15 percent more exhibition galleries. Plus, behind the scenes space for collection storage and conservation. On the eve of its reopening, Artnet News spoke with NMWA director Susan Fisher Sterling about the institution's past, present, and future, and the work that still needs to be done to ensure proper recognition for women artists.

Merriam-Webster's Word of the Day for June 25, 2023 is: lambent • LAM-bunt • adjective When used literally, lambent can mean “softly bright or radiant” or “flickering.” Lambent is also often used to describe speech, writing, music, and even wine, that has a light, appealing quality. // Sitting around the campfire, we were mesmerized by the lambent flames dancing into the night. // As a writer she is known for the lambent wit with which she deftly and amusingly describes the absurdities of modern life. See the entry > Examples: “Observe the impact in the Clark's permanent collection of a [Berthe] Morisot painting, “The Bath” (1885-86), amid several girly Renoirs…. Renoir's rosy-fleshed models do arbitrarily fussy things with their hands. Morisot's puts up her hair, anchoring in immediate experience the work's lambent lyricism.” — Peter Schjeldahl, The New Yorker, 7 Sept. 2020 Did you know? In his short story “The Word,” Vladimir Nabokov limned a dream-like landscape where “a wind, like the foretaste of a miracle, played in my hair” and grasses “lapped at the tree trunks like tongues of fire.” Both the wind and the grass in these passages might be described by one of the oldest senses of lambent: “playing lightly over a surface.” That Nabokov compared flames to tongues, as people often do, is doubly appropriate. Lambent, which first appeared in English in the 17th century, is a part of this tradition, coming from lambens, a form of the Latin verb lambere, meaning “to lick.” (Lap, as in “waves lapping at the shore,” also counts lambere among its distant relations.) Early uses of lambent were usually applied to flames or light (it can also mean “flickering”), and by way of that association, the term eventually came to describe things with a radiant or brilliant glow, first in a literal sense (“a lambent sunset”) and later a figurative one applied to prose, music, and other expressions marked by lightness or brilliance.

Berthe Morisot was among the most successful French Impressionist painters during her lifetime. Today she is less well known than her peers like Claude Monet and Pierre-Auguste Renoir, but in the 19th century, she was the more bankable artist. She was accepted in the Paris Salon, but ultimately she left the salon to participate in the first exhibition of the Impressionists. In this episode we discussed Morisot's painting The Cradle which depicts her sister Edma looking at her baby in a cradle. Both Berthe and Edma were tremendously talented painters who found success exhibiting their work. Edma got married and stopped painting to take on the traditional roles as a wife and mother while Berthe was the breadwinner in her family maintaining her career while her husband looked after their kid. Fill out the Airwave Media Network survey to give me feedback and get a chance to win a $500 gift card: www.surveymonkey.com/r/airwave  Check out my other podcast Art Smart Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Connect with me: Website | Twitter | Instagram | Tiktok Learn more about your ad choices. Visit megaphone.fm/adchoices

The Art Newspaper's annual report on museum visitor figures around the world has been published. We talk to Lee Cheshire, who co-edited the report, and to Charles Saumarez Smith, a former director or chief executive of three London museums and galleries—the National Portrait Gallery, National Gallery and Royal Academy of Arts—about how important the figures are to museums and whether they are a valid gauge of institutions' success. The exhibition Manet/Degas opened at the Musée d'Orsay in Paris this week, before travelling later in the year to the Metropolitan Museum of Art in New York. Ben Luke visits the show in Paris and speaks to Laurence des Cars, the former director of the Musée d'Orsay and now president-director of the Musée du Louvre, and Stéphane Guégan, the co-curator of the exhibition. And in London, a show of the paintings of Berthe Morisot, the pioneering Impressionist with artistic and familial connections to Manet and Degas, has opened at the Dulwich Picture Gallery. This episode's Work of the Week is Morisot's Woman at Her Toilette (1875-80). Lois Oliver, the curator of the exhibition in Dulwich, tells us about this pivotal picture.Manet/Degas, Musée d'Orsay, Paris, until 23 July; Metropolitan Museum of Art, New York, 24 September-7 January 2024Berthe Morisot: Shaping Impressionism, Dulwich Picture Gallery, London, until 10 September, Musée Marmottan Monet later in 2023 (dates to be announced). Hosted on Acast. See acast.com/privacy for more information.

Melvyn Bragg and guests discuss one of the influential painters at the heart of the French Impressionist movement: Berthe Morisot (1841-1895). The men in her circle could freely paint in busy bars and public spaces, while Morisot captured the domestic world and found new, daring ways to paint quickly in the open air. Her work shows women as they were, to her: informal, unguarded, and not transformed or distorted for the eyes of men. The image above is one of her few self-portraits, though several portraits of her survive by other artists, chiefly her sister Edma and her brother-in-law Edouard Manet. With Tamar Garb Professor of History of Art at University College London Lois Oliver Curator at the Royal Academy and Adjunct Professor of Art History at the American University of Notre Dame London. And Claire Moran Reader in French at Queen's University Belfast Producer: Simon Tillotson

Melvyn Bragg and guests discuss one of the influential painters at the heart of the French Impressionist movement: Berthe Morisot (1841-1895). The men in her circle could freely paint in busy bars and public spaces, while Morisot captured the domestic world and found new, daring ways to paint quickly in the open air. Her work shows women as they were, to her: informal, unguarded, and not transformed or distorted for the eyes of men. The image above is one of her few self-portraits, though several portraits of her survive by other artists, chiefly her sister Edma and her brother-in-law Edouard Manet. With Tamar Garb Professor of History of Art at University College London Lois Oliver Curator at the Royal Academy and Adjunct Professor of Art History at the American University of Notre Dame London. And Claire Moran Reader in French at Queen's University Belfast Producer: Simon Tillotson

Berthe Morisot and Mary Cassat are the only two Impressionist female artists that regular people (sometimes) know about. Berthe fought tooth and nail to be recognized in a select group of Impressionist artists without ever seeming too strident. For the times, this was revolutionary because that group included Monet, Manet, Renoir, Degas and many more men. Women were left out like they didn't matter at all. Most of the male artists she worked with didn't see any problem with that. Argh!!!! Elyse Rivin of Toulouse Guided Walks does a wonderful job telling us about the life of Berthe Morisot, her art, and how she fits in her historical context. Episode Page | Show Notes | Transcript

Art heists can often look and sound like something out of a Hollywood script. One time, two thieves lifted two Van Gogh paintings from the Van Gogh Museum in Amsterdam, and they entered the premises through the roof -- Mission Impossible-style … ish. In this new season of Criminalia, we're telling the stories of, and looking at the motivations for, art heists throughout history. In this episode, we're talking about five men who were brazen enough to buy tickets to a museum and pull off an art heist in broad daylight.See omnystudio.com/listener for privacy information.

This week, the panel begins by discussing A24's newest horror/thriller film from Alex Garland Men. Then, the panel jumps back in time with the reboot of Canadian comedy troupe Kids in the Hall. Finally, the panel is joined by contributing writer for the New York Times, Jody Rosen, to discuss his newest book Two Wheels Good: The History and Mystery of the Bicycle.  In Slate Plus, the panel spoils Men to get to the bottom of the horror mystery. Email us at culturefest@slate.com. Endorsements Dana: This 10 year-old article from Jimmy Stamp for Smithsonian Magazine titled “The Long History of the Espresso Machine.” Julia: From Jody's early recommendation via Twitter: the Boston food-chain Tatte, which is expanding into DC. Jody: New York Times Critic Jason Farago's series Close Read, in which he does close analyses of works of art. In particular: his pieces on Berthe Morisot, Jasper Johns, and Chitarman's “Shah Jahan on a Terrace.” Steve: A deep-cut YouTube video of The Replacements' “Friday Night is Killing Me” (Live). Podcast production by Cameron Drews. Production assistance by Nadira Goffe. Outro music is "Did I Make You Wait" by Staffan Carlen. Slate Plus members get ad-free podcasts, a bonus segment in each episode of the Culture Gabfest, full access to Slate's journalism on Slate.com, and more. Sign up now at slate.com/cultureplus. Learn more about your ad choices. Visit megaphone.fm/adchoices